Max Rambhojan
Max Rambhojan

**** DIZONORD DEADSTOCK ****These mint late 90's early 2000's Italian deadstocks come straight from Afro / Cosmic and Tribal Italia headquarters near Rimini where the club Melody Mecca spread the movement following Daniele Baldelli & Beppe Loda seeds. Consider "Afro" like what some would have called "World" has we're speaking about crazy African, Oriental, Indian, Reggae, Latin, Brazilian and even Bulgarian & Irish downtempo wrong speed trance tracks and edits like (!) Might be cheesier and more fun than expected since Dizonord recent Studiolo compilation, hope you're ready for the ride.

New single by legendary Brazilian singer DI MELO, 40 years after his classic self-titled Samba-Soul LP. Performed and produced by French brilliant combo COTONETE, this single and collaboration will be followed by a full album early 2019.Florian Pelissier speaks about the project: “On tour in Brazil with Cotonete, we had a few days off in Sao Paulo and I really hoped to make a collaboration with an important artist or band from the Brazilian funk scene. We had thought of Marcos Valle, Meta Meta or Ed Motta... but Rafaela Prestes our Brazilian "sound ingineer/genious" told me: "I worked for the return of Di Melo in Rio 2 years ago. He rocks, he’s adorable and he lives in Sao Paulo, here’s his number, he would be perfect for Cotonete."No sooner said than done. I'm a huge fan of Di Melo and had already tried to contact him for Cotonete 6 years ago. The next day, on a Sunday, he arrives at our house with Jo, his wife, and Gabi, his daughter. He takes the guitar in front of us in the kitchen, and gives us a private show of 3 hours… we cried the tears of joy.He had 400 original songs never recorded, a gold mine. On the same night, we started working the arrangements for 2 days, followed by a rehearsal and two small gigs in Sao Paulo. Immediately after, we recorded in the magical Epsilon B studio. All with the participation of Gabi, his 10-year-old daughter, and future star.This album is the summary of this moment, of these 5 days of madness spent together between “the best band in the world” and the legend Roberto Di Melo… Simple, beautiful, Brazilian-French, human music…”

Comet is pleased to announce the third volume of the Afrobeat Makers Series: Nu Guinea - The Tony Allen Experiments.By re-working the original magic drum patterns from the Afrobeat master Tony Allen, Nu Guinea created a compilation of tracks which is charged by a voluminous electronic jazz-Psyche funk imprint.For this release, Comet Records teamed up with Early Sounds Recordings, the berlin label, also home to duo Berliners Nu Guinea.The Naples formed, Berlin-based duo, is a project that arose out of jam sessions, melting synthesizers with instruments, containing a handmade sound that is not aiming for perfection but genuineness. It can be understood as a steadily shaping form, always open for collaborations with other musicians. They've previously collaborated with singer Wayne Snow (fellow berliner artist on Comet) for the vocal edit of Nu-World, also delivered a remix for Wayne Snow’ ʻRosie Epʼ both recently released on Tartelet Records.

Born on June 28 1936, in Edikwu Village, Oturkpo, Idoma Division, Benue Plateau State, Nigeria, Ray Stephen Oche comes from a family of musicians, singers and flute players. His ancestors and folks were undisputed celebrities in the many music festivals of his native region, especially in the 30's, and Ray just followed with amazing ease and talent, the path they had so gloriously thread.From the tender age of 8, Ray was already an outstanding flute player in his village school band. Soon after, Ray joined local bands and became a first rate Obinde singer and started travelling extensively, visiting every part of Northern Nigeria, where he entertained Idoma communities.In 1953, Ray arrived in Lagos and quickly found his way into the best musician's circles, joining Stephen Amechi's and, later on, Bobby Benson's groups. Shortly after he found his own band, Ray Stephen Oche & His Orchestra, and quickly performed in Kano, Kaduna, Ilorin, Enugu, Aba, Port Harcourt or Ibadan. Coming back to Lagos, Ray decides to go to Accra (Ghana), where he achieved his musical studies at Ghana Military School of Music and, later, became a favourite of late Kwame N'Krumah. While staying in Accra, Ray met the world famous drummer and percussionist, Guy Warren, who is supposed to have delivered Ray with the secret of the authentic African rhythms.In March 63, Ray returned to Lagos, where he collaborated with Chris Ajilo & His Cubanos, before forming his own new band, Outter Space, with which he toured Sierra Leone. That's also where he ended invited to perform a series of private shows for the prime minister. Ray then visited Gambia, Senegal and then Paris, where he arrived in 1965. He and his band performed all over Europe in Switzerland, Spain, Italy, France, etc…After the memorable "Festival de Montparnasse" in 1970, Ray Stephen Oche joined Alan Silva & His Celestial Communications Orchestra for several shows and festivals. In 1971, he collaborated with Noah Howard Quartet and played for the Copenhagen Radio, the University or the famous "Montpartre Jazz Club". After having worked successfully in Germany and Holland, Ray came back in Paris where he raised his Freedom Suite Orchestra, this time bringing him to Algeria or Tunisia.Famous in many Jazz circles and at the SACEM, Ray is now leading the Ray Stephen Oche & His Matumbo (in Angolese language, Matumbo means: "Gifted with various talents"). This band is composed mainly of African musicians from Congo, Togo, Guinea or Gambia, but also with others from Brazil or French West Indians. The band main purpose was to shed more lights on the diversity of African melodies and rhythms.As a calm, gentle and discrete person, Ray answers very genuinely when questioned about his beliefs: "Of course I believe in God!!" This makes even more sense when you know that his real name, Owoicho Oche, means "God is the King".

Emotional Rescue and Jamwax end their Capo Disco series by returning to Glen Adams and his cover of Bob Marley’s classic. The early 70s Lee Perry produced original raw sound is taken to the disco reggae dancefloors of the early 80s with a bottom heavy jam, while his Capo Crew works a killer dub flipside.“Fussing & Fighting” was originally released on the 1971’s Soul Revolution album and for many came during the pinnacle of Bob Marley & The Wailers output, before the smoothing out of their sound during the later “Island” years. Whichever, the guidance and collaboration with Perry transformed the Wailers from a successful Ska / Rocksteady group towards a visionary, conscious, crossover phenomenon.Perry’s in-house band, The Upsetters, lent so much to this early period, the brothers Aston and Carlton Barrett creating a perfect drum and bass bedrock. With Glen Adams on organ, the original version known simply as is an incessant, rumbling message and in that light, Adams return to it over a decade later makes justified and righteous sense.Actually released on both Capo Disco and Marley’s own Tuff Gong, Adams’ vocal marries a disco-dub and guitar groove, dropping, in the latter half, right down to tambourine into perfectly stretched Discomix.Things get even more laid out on “Mad Blank” aka the version. Riding the desk, “Capo” lets each instrument time and space, dropping to just a kick and dubbed piano before slowly coming back with hats, guitar and then when the bass comes, the Gospel purity of dub reggae shines, all before the teasing fade calls for a rewind. Rest and rise, Glenroy “Capo” Adams.